1643748378     

512363293                        

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To see Paris and die : the Soviet lives of Western culture / Eleonory Gilburd

Gilburd, Eleonory [Verfasserin/Verfasser]

First printing

Cambridge, Massachusetts ; London, England : The Belknap Press of Harvard University Press, 2018

ix, 458 Seiten : Illustrationen

Englisch

Enthält Literaturangaben und ein Register

978-0-674-98071-6 (cloth)

2018009238

1019582308

OCoLC: 1060752648     

OCoLC: 1060752648 (aus SWB)     

KK 1020  | KK 1040  | MG 85070  | ML 6640  | NK 5066  | NQ 8294      Ähnliche Literatur

DK276

303.48/247018210904

Basisklassifikation: 15.74 (Russland) <Geschichte> ; 15.07 (Kulturgeschichte)

*Sowjetunion ; Tauwetter-Periode ; Kulturwandel ; Geschichte     Zum Register

*Sowjetunion ; Kulturkontakt ; Westliche Welt ; Geschichte 1953-1991      Zum Register

*Sowjetunion ; Tauwetter-Periode ; Kulturwandel ; Geschichte      Zum Register

LOC-SH: Public opinion -- Soviet Union ; Soviets (People) -- Attitudes ; Soviet Union -- Civilization -- Western influences ; Soviet Union -- History -- 1953-1985 ; Western countries -- Foreign public opinion, Soviet ; Public opinion -- Soviet Union ; Soviets (People) -- Attitudes ; Western countries -- Foreign public opinion, Soviet ; Soviet Union -- Civilization -- Western influences ; Soviet Union -- History -- 1953-1985

The Soviet Union was a notoriously closed society until Stalin's death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West. At the heart of this story is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss. Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate possessions. With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd's history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.--

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Soviet internationalism -- The Tower of Babel -- Books about us -- Cinema without an accent -- Barbarians in the temple of art -- Books and borders -- Epilogue: Exit

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